Bruckner: Symphony No. 7
Gürzenich Orchestra; François-Xavier Roth, conductor (Myrios)
Anton Bruckner, a pioneer of modernism? So François-Xavier Roth, one of the more inventive conductors active today, thinks so. Roth worked on a Bruckner cycle with Gürzenich Orchestra in Cologne, Germany, of which this is the first documented evidence. To illustrate the composer’s progress in the Roth concert, performed the Third Symphony with Ligeti, the eighth with Lachenmann and this seventh, recorded live in December 2019, with music by Graciane Finzi. Pairing doesn’t make it out to disk; what remains is Bruckner completely different from the norm.
Not for Roth all that’s fun about “sanctuary of sound” – this is lighter, brighter and faster than the Bruckner we’re used to hearing, 10 minutes slower than Andris Nelsons recent account of the same work as the Gewandhaus Orchestra of Leipzig. No doubt influenced by his work with the band of his period, Les Siècles, Roth was less interested in grand, architectural passages than in brief, stressed phrases; thin out some of Bruckner’s textures, his emphasis is not on the gravity of words, but on originality. It will take some getting used to, but that’s the point. And if I’m still not quite convinced, that said I want to hear more. DAVID ALLEN
Henze: ‘Nachtstücke und Arien’
ORF Vienna Radio Symphony Orchestra; Marin Alsop, conductor (Naxos)
Conductor Marin Alsop has just ended her term as music director of the Baltimore Symphony, the first woman to fill the position at one of America’s largest concert stages. But she barely innovates, as in this powerful work by Hans Werner Henze.
Henze, often programmed in Europe, is not often performed in the United States, where his reputation is volatile; he also pays for his wide range of aesthetics. “Nachtstücke und Arien,” in which tonal melodies coexist with dense abandon, radicals scandalized like Pierre Boulez when it premiered in 1957.
With her Vienna orchestra joined by soprano Juliane Banse, Alsop got its dreary beauty; in the first movement, the first melody of the wind has a relaxed, meditative quality, often set up to counteract the tense writing of the strings. But this reading is still much more serious in the frenetic moments of the movement. All of the Henzes in the series – including “Los Caprichos” and, with cellist Narek Hakhnazaryan, “Englische Liebeslieder” – have been well documented in recent years on the Wergo label. But some of them might sound like they’re still trying to buy back Henze for Boulez’s elite ears. As Alsop made clear, that’s not the only way to hear him. SETH WALL COLOR
‘Primavera II: The Rabbits’
Matt Haimovitz, cello (Pentatone)
Cellist Matt Haimovitz is playing upbeat music. And after a long show, it can be easy to start to strangely forget about him. His skills become something you take for granted; It’s a humble way to show off technical virtuosity.
His latest medium of contemporary music is an episodic series, “Primavera,” in which he has invited 81 composers to respond to the springtime paintings of Botticelli and contemporary artist Charline von. Heyl. After his own arrangement of Kyrie from Josquin’s Missa Hercules Dux Ferrariae, we hear Missy Mazzoli’s tribute to the same piece – with a rhythmic gait that suggests both Minimalism and dance American folk.
The plunging motifs of Tomeka Reid’s “Volpaning”, and the powerful energy of its climax, seem to describe a flying object that finds preferred momentum only when its journey is coming to an end. . It is energizing and intoxicating at the same time. Along with other well-deserved commissions from Sky Macklay, Jennifer Jolley and Alex Weston, Haimovitz’s makes a compelling argument on behalf of its chosen composers, who have been central throughout the process. submit. SETH WALL COLOR
Benjamin Appl, baritone; James Baillieu, piano (Alpha)
Baron Benjamin Appl’s hat trick during Schubert’s performances at the Park Avenue Armory in 2019 is one of the most promising New York debuts in recent years. He hasn’t been back since – his next engagement, at Carnegie Hall, was a victim of the pandemic – but in the meantime, he recorded one of those Armory shows : cycle of the melancholy song “Winterreise”.
As in New York, the pianist is James Baillieu, who is often respected and measured rather than ostentatious, even in the galloping “Die Post”. However, he also has the ability to create tension in silence, as in “Die Krähe,” and compliments the vast world of emotions in the whisper of Appl’s approach. Their “Gute Nacht” has the softness of fresh snow, but also its dangerous cold. That’s the key to Schubert’s sad, beautiful piece of music, and what makes this “Frühlingstraum” so gorgeous and broken.
Apple handles the turning points of the cycle by influencing control, narrator appeal, and, above all, trust in the text. He likes the gentle serenity of “Der Lindenbaum” and the pivotal ending of the intense “Rückblick”. In “Die Wetterfahne,” he’s not afraid of being a little ugly, which works right up to the barking climax.
Throughout – culminating in the terrifyingly frank “Der Leiermann” – you can hear the actor qualities that set off another Schubert cycle that Apple sings at the armory, “Die Schöne Müllerin,” form figure. of a real monodrama. It was an even better fit for him; I hope he records it next. JOSHUA BARONE
‘Uncovered,’ Vol. 2: Price Florence B.
Catalytic quartet; Michelle Cann, piano (Azica)
The Catalyst Quartet’s “Not Covered” series has quickly become one of the most worthwhile recording projects around, notable not only for the serious attention that the Black composers quartet deserves, but also for excellence in their play. Samuel Coleridge-Taylor is at the heart of first release; Prices of Florence, of Monday, offered six works, four of which were debut recordings, with support from pianist Michelle Cann and violinist Abi Fayette, who joined the quartet after their departures. recently by composer Jessie Montgomery. (Followed by William Grant Still, Coleridge-Taylor Perkinson and George Walker.)
The two biggest pieces here, a piano quintet and a string quartet, are both minor A minors, dating to the mid-1930s and both in a lush, epic style – weaving distinctive spiritual idioms differentiated into the inherited forms that became familiar from Price’s contemporary First and the Third Symphony. Four other works are quite different: A potentially unfinished, two-movement string quartet in G (1929) features a striking slow-motion contrast between poignant lyricism and humorous episodes. dark; an undated piano quartet, concise but effective; and two late quartets, “Negro Folksongs at Counterpoint” (from circa 1947) and “Five Folksongs at Counterpoint” (1951), ending with an epic setting of “Swing Low, Sweet Chariot.” It begins with something of Haydn’s “The Emperor” Quartet to it, but ends with an energy and conviction all of Price’s own. DAVID ALLEN
https://www.nytimes.com/2022/02/24/arts/music/classical-music-recordings-albums.html 5 Classical Music Albums You Can Listen To Right Now